BY MIRANDA ILCHEF
Performance anxiety is a phrase many musicians are pretty familiar with.
Whether we experience it ourselves or know someone who does, it can sometimes feel like it is a necessary (and debilitating) evil of a musician’s existence.
Tasmania Symphony Orchestra trumpeter Mark Bain would argue otherwise.
He has recently launched his ground-breaking initiative Performance Under Pressure, which seeks to help musicians overcome the anxiety associated with playing live music.
In addition to hosting topical presentations this month in Grafton and Lismore conservatoriums, Mark curates the Performance Under Pressure Facebook page to share relevant information and interviews with professionals in the industry on how they cope with the pressure.
What inspired you to start your initiative Performance Under Pressure? There’s a plethora of books and articles on performance anxiety. What did you feel these resources were missing?
As a teacher, I have always looked for ways of increasing my knowledge and expertise in order to help students and fellow teachers more effectively. Starting up Performance Under Pressure has been a continuation of the work I have been doing, and gives me the impetus to continue learning and share what I find.
Whilst there is a vast amount of material out there on performance anxiety, it can be daunting for some performers to know where to turn when feelings of nerves and anxiety start to effect performance. I aim to be a bridge between academia and the everyday musician by offering content that is easy to understand and practical.
As someone in the profession that has to deal with performance anxiety regularly, my goal is to provide support and advice to students, and to start up the conversation by being open and honest about my own experiences.
You’ve had a long and diverse performing career. What kind of performance do you find the most stress-inducing?
Fortunately for me, the most stress-inducing performances are now in the past – auditions, competitions, and being on trial. One of the advantages of studying overseas was being able to take auditions regularly, and really find out how to manage stress and anxiety levels under those circumstances. That definitely helped me a lot!
Even though I am past that phase of my career, there are still important concerts each season that I have to be more mentally and physically ready for. Master series concerts, chamber music, and solo performances are typically more anxiety-provoking.
I counter this by constantly reminding myself that stress and anxiety are completely normal, and are just signs that my body and mind are getting ready for action. This gives me a much more positive perspective.
Can you tell us anything about the science of performance anxiety? What exactly is happening to our bodies when our hearts start pumping, palms start sweating, and hands start shaking?
Performance anxiety is the body and mind’s response to a perceived threatening situation. Known as the fight-flight response, it is a basic survival mechanism that has kept humans alive for hundreds of thousands of years – think of a caveman or cavewoman being confronted by a sabre-tooth tiger! Your body gears itself up for greater strength and energy by releasing hormones and neurochemicals into the bloodstream, such as adrenalin, noradrenalin, and cortisol. This is all in preparation to either fight the tiger, or get the heck outta there and run away as fast as you can!
Unfortunately for us today, our brain can’t perceive the difference between a tiger coming to eat us, or the opening trumpet solo of Mahler 5! The tiger might kill you, but you definitely won’t die if you make a mistake in the Mahler, yet our physiological response is the same.
Learning to accept and work with this response is key in using it to perform better under pressure. Fighting against it will generally cause additional stress, anxiety, and diminished performance.
Why is the music industry, and specifically classical music, such a perfect environment for performance anxiety to thrive? Is there anything about this industry that sets it apart in terms of the effects on mental health?
There have been a few studies into why classical musicians generally experience more anxiety, worry, and fear than non-classical musicians. They have found a whole range of factors combining to create a more stressful environment.
The emphasis on technical and musical perfection, especially from the recording industry, has created, I believe, an unrealistic picture of what classical music is truly about. Performing pieces that have been around for centuries and are extremely well known creates additional pressure. The general formality of classical music concerts also adds to the already-tense atmosphere created on stage, leading to less connection with the audience and more focus on one’s own playing standard. And the list goes on.
All of this in combination with the weekly grind of rehearsals, concerts, different repertoire, conductors, and venues, creates fertile ground for mental health issues to fester and grow. Fortunately, however, arts organisations are much more aware these days of mental health issues in the workplace, and are better equipped to support and assist musicians with maintaining a healthy mind and body throughout their career.
I can’t help wondering whether stress is a part of the game when performing. When the stakes are high, and you’ve got an audience depending on your good performance, isn’t it natural to feel anxiety? Why should we try to control these instincts – at what point is performance anxiety a threat to our success? Or can it be helpful?
Absolutely! It is completely normal and natural to feel nerves and anxiety before any performance situation. But it is important to view nerves and the circumstance not as a threat, but your body getting ready for the challenge ahead. It is an opportunity to show the audience what you are capable of!
One misconception about performing is that we need to be as calm and comfortable as possible to play our best, but this is generally not the case. Because performing naturally increases our energy levels and pushes us outside of our comfort zone, it is extremely difficult to be calm when the buzz of adrenaline is in full force. However, we do need to learn to have some control over our nervous energy in order to perform optimally, otherwise our playing can spiral out of control pretty quickly.
I do this by using a centering technique that helps to develop far greater control over my mental state and energy levels under pressure. It also utilises visualisation to channel nervous energy through the music, creating more exciting and vibrant playing.
For young musicians, what role do teachers and educators have in fostering a healthy attitude towards performance? Can their actions impact the student’s anxiety levels, for better or for worse?
I think the role of the teacher, particularly throughout high school and early university, is pivotal in developing a healthy performance mentality. A majority of students start experiencing performance anxiety around this age group, so it is important that their teacher can discuss ways of dealing with nerves in a positive and constructive way. If teachers and educators can talk openly about their own struggles with performance anxiety, then this can have a significant impact on how students view their nerves and anxiety.
Whilst teachers are also there to stretch students as far as possible, there needs to be a supportive environment when the inevitable mistakes or sub-par performance eventuates. Emphasis on musical growth, as well as learning through free experimentation and making mistakes, are great ways to reduce the burden of judgement and expectation on any student at any stage.
If a musician is feeling that their performance anxiety is getting out of hand, where is the best place to start looking for help?
The first port of call can be their teacher. Hopefully, they will know how to best help the student to manage their fear and anxiety, or be able to point them in the direction of someone more suitable.
It is also extremely valuable to speak with peers and other professional musicians, as this can shed a different light on their experience, and take away some of the heat attached to what they are feeling.
I can also recommend reading some books on improving performance mentality. The first book I ever read on the topic was The Inner Game of Tennis by Timothy Gallwey, but the book that really got me into performance psychology was Performance Success by Don Greene.
If you were still feeling overcome by anxiety and stress, then I wouldn’t hesitate in seeking out professional help from a counsellor or psychologist that has some experience with musicians. Having anxiety is nothing to be ashamed of, and is an often-treatable and manageable condition.
To find out more about Mark’s awesome initiative to raise awareness of performance anxiety, visit Performance Under Pressure’s Facebook page.
For more information and support related to anxiety and mental health, please visit Beyond Blue or contact your local GP.
Disclaimer: This story provides general discussion on the topic of performance anxiety and mental health in the arts. It is not intended as formal medical advice.
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